Exploring the enduring legacy of ‘The Adventures of Priscilla, Queen of the Desert’ and its impact on drag culture, costume design, and LGBTQ+ representation over the past 30 years.
“The Adventures of Priscilla, Queen of the Desert”: A 30-Year Journey of Drag and Self-Expression
Sydney, 1994: In a dimly lit bar, adorned with tinsel curtains and the scattered light of a disco ball, Tick Belrose, played by Hugo Weaving, takes the stage as his drag alter ego Mitzi Del Bra, setting the stage for the iconic film “The Adventures of Priscilla, Queen of the Desert.” This opening scene marked the debut of the film at the Cannes Film Festival 30 years ago.
Directed by Stephan Elliott and known for its extravagant costumes, the movie follows Tick, his newly widowed friend Bernadette Bassenger (Terence Stamp), and fellow drag queen Adam Whitley/Felicia Jollygoodfellow (Guy Pearce) on a road trip across the Australian Outback in their bus, Priscilla. The film’s costumes, primarily designed by Tim Chappel and Lizzy Gardiner, won an Oscar in 1995.
Chappel, reflecting on the costume design process, noted that many costumes were crafted on a tight budget. For instance, the notable flip-flop dress was made using $15 worth of shoes purchased from Target. Despite financial constraints, the film’s wardrobe became legendary, with creations made from everyday materials like hot glue, chicken wire, and duct tape.
Philmah Bocks, a drag artist and costumer for 30 years, emphasized how “Priscilla” captured a unique moment in Australian cultural history, integrating iconic elements like the floral headpiece wigs and the thong (flip-flop) dress. These designs became symbols of creativity and resilience in the drag community.
Bocks also pointed out the enduring legacy of the film’s costumes, highlighting the windswept silver lamé outfit worn by Adam/Felicia during an opera performance on the moving bus. This scene, inspired by the Rolls Royce “Spirit of Ecstasy” ornament, became a defining image of the film.
“Priscilla” not only resonated culturally but also marked a significant period for the LGBTQ+ community. The movie premiered just before Australia federally decriminalized homosexuality, amid a hopeful atmosphere during new HIV treatment trials.
In recent developments, Elliott announced plans for a sequel to “Priscilla,” with Chappel once again on board for costume design. The film’s influence continues through its musical adaptation and its presence in shows like “Rupaul’s Drag Race Down Under.”
As Chappel reflects on his work, he hopes his contributions have left a lasting impression on both film and fashion, symbolizing a blend of creativity and cultural expression.
